Paul Rae
Biographic Data
| ID | 3981352 |
|---|---|
| NAME | Paul Rae |
| GIVEN NAMES | Paul |
| FAMILY NAME | Rae |
| SIGNATURE | RAE P |
| AFFILIATIONS | The University of Melbourne |
| ORCID | 0000-0001-8717-2697 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Cold War Asia: A Visual History of Global Diplomacy
This innovative, interdisciplinary and international collection of essays offers fresh perspectives on the history of global diplomacy. Experts in history, international relations, art history and performance art have come together to examine a series of visual sources relating to Asia's role in global diplomacy during the Cold War. They explore how leaders, including Indonesia's Sukarno, the Philippines' Imelda Marcos and Thailand's King Bhumibo…
The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
We often know performance when we see it – but how should we investigate it? And how should we interpret what we find out? This book demonstrates why and how mixed methods research is necessary for investigating and explaining performance and advancing new critical agendas in cultural study. The wide range of aesthetic forms, cultural meanings, and social functions found in theatre and performance globally invites a corresponding variety of resea…
The aesthetics of intercultural method: From process to procession in new Indonesian and Indo-Australian dance
This article examines how three dances featuring Indonesian artists and commissioned for Melbourne's 2020 Asia-Pacific Triennial of Performing Arts staged their method of creation in ways that make explicit core features of cultural production in inter-Asia contexts. In The Seen and Unseen, by Kamila Andini and Ida Ayu Wayan Satyani, a self-contained world is best understood as participating in a much longer process of creation. Lucy Guerin Inc a…
The feeling of being watched: Lived Confucianism and theatricality in Kuo Pao Kun’s mid-1980s monodramas
The first plays Kuo Pao Kun (1939–2002) wrote after being released from detention in 1980 coincided with a concerted effort by the Singapore government to formalise the Confucian basis upon which it claimed that Singapore society and its increasing economic success were built. Kuo was no traditionalist, but The Coffin is Too Big for the Hole (1985), and No Parking on Odd Days (1986) can be interpreted as expressing — and producing – the lived exp…
Archipelagic Performance: Scenes from Maritime Southeast Asia
Archipelagos are complex environments that combine land and water in dynamic ways. As geological and discursive formations, they are performatively produced, and the kinds of cultural expressions that archipelagic communities perform represent distinctive manifestations of their location and interrelations. This essay considers a recent trend in contemporary performance for exploring archipelagic conditions, and places it within the context of an…
Lawful Espials: Edward Snowden's Hamlet
What happens if we consider the drama of Edward Snowden, whistleblowing intelligencer, as a latter-day Hamlet, played out on a global scale? Much fun can be had casting the play from the colorful characters that have populated the play so far, with Snowden as austere, articulate, and self-aware a Hamlet as our age demands. But what, beyond frivolous analogy, does such a conceit reveal? In this essay I argue that three broad themes come to light. …
Workshop of Filthy Creation: The Theatre Assembled
Assemblage theory provides a framework for registering the active roles played by nonhuman entities in the creation of theatrical events. In particular, it enables a greater appreciation of how technical and other theatrical production elements inform performance analysis. In the Wooster Group’s House/Lights, people and things make equal attentional demands upon the audience; appropriately, a documentary on installing the production makes this mo…
Pigs Might Fly: Dance in the Time of Swine Flu
This essay takes the coincidence of pandemic H1N1/09 virus (so-called swine flu) and a collaborative dance-making project in Beijing in 2009 as a starting point for exploring some of the corporeal consequences of "Asian modernity." Tasked with researching the dance-making collaboration, I found that public debate about the pandemic, and the attendant restrictions on travel and movement, threw into relief otherwise unnoticed aspects of the choreog…
Performance Histories by Bonnie Marranca
September 01 2010 Performance Histories by Bonnie Marranca Paul Rae Paul Rae Search for other works by this author on: This Site Google Scholar Author and Article Information Paul Rae Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2010 New York University and the Massachusetts Institute of Technology2010 TDR/The Drama Review (2010) 54 (3 (207)): 178–180. https://doi.org/10.1162/DRAM_r_00015 Cite Icon Cite Permissions Share Icon Share Facebook Twi…
Theatre & Human Rights
Cat's Entertainment: Feline Performance in the Lion City
Singha the Courtesy Lion and the Merlion, a touristic icon, are among several leonine symbols deployed by the Singaporean state in its persistent effort to manage national identity and police subjectivity. Artists have responded with playful and affective inscriptions of a “feline imaginary” that expands and contests the narrow terms of the official symbology
Where is the cosmopolitan stage
The crowds swirl around the vast interchange that is the airport. ‘We're a long way, now, from the lone field and the crowded workshop. Our message systems nowadays affect whole populations .... All
Where is the cosmopolitan stage
The crowds swirl around the vast interchange that is the airport. ‘We're a long way, now, from the lone field and the crowded workshop. Our message systems nowadays affect whole populations .... All
The feeling of being watched: Lived Confucianism and theatricality in Kuo Pao Kun’s mid-1980s monodramas
The first plays Kuo Pao Kun (1939–2002) wrote after being released from detention in 1980 coincided with a concerted effort by the Singapore government to formalise the Confucian basis upon which it claimed that Singapore society and its increasing economic success were built. Kuo was no traditionalist, but The Coffin is Too Big for the Hole (1985), and No Parking on Odd Days (1986) can be interpreted as expressing — and producing – the lived exp…
Where is the cosmopolitan stage
The crowds swirl around the vast interchange that is the airport. ‘We're a long way, now, from the lone field and the crowded workshop. Our message systems nowadays affect whole populations .... All
Cat's Entertainment: Feline Performance in the Lion City
Singha the Courtesy Lion and the Merlion, a touristic icon, are among several leonine symbols deployed by the Singaporean state in its persistent effort to manage national identity and police subjectivity. Artists have responded with playful and affective inscriptions of a “feline imaginary” that expands and contests the narrow terms of the official symbology
Theatre & Human Rights
Performance Histories by Bonnie Marranca
September 01 2010 Performance Histories by Bonnie Marranca Paul Rae Paul Rae Search for other works by this author on: This Site Google Scholar Author and Article Information Paul Rae Online ISSN: 1531-4715 Print ISSN: 1054-2043 © 2010 New York University and the Massachusetts Institute of Technology2010 TDR/The Drama Review (2010) 54 (3 (207)): 178–180. https://doi.org/10.1162/DRAM_r_00015 Cite Icon Cite Permissions Share Icon Share Facebook Twi…
Pigs Might Fly: Dance in the Time of Swine Flu
This essay takes the coincidence of pandemic H1N1/09 virus (so-called swine flu) and a collaborative dance-making project in Beijing in 2009 as a starting point for exploring some of the corporeal consequences of "Asian modernity." Tasked with researching the dance-making collaboration, I found that public debate about the pandemic, and the attendant restrictions on travel and movement, threw into relief otherwise unnoticed aspects of the choreog…
Workshop of Filthy Creation: The Theatre Assembled
Assemblage theory provides a framework for registering the active roles played by nonhuman entities in the creation of theatrical events. In particular, it enables a greater appreciation of how technical and other theatrical production elements inform performance analysis. In the Wooster Group’s House/Lights, people and things make equal attentional demands upon the audience; appropriately, a documentary on installing the production makes this mo…
Lawful Espials: Edward Snowden's Hamlet
What happens if we consider the drama of Edward Snowden, whistleblowing intelligencer, as a latter-day Hamlet, played out on a global scale? Much fun can be had casting the play from the colorful characters that have populated the play so far, with Snowden as austere, articulate, and self-aware a Hamlet as our age demands. But what, beyond frivolous analogy, does such a conceit reveal? In this essay I argue that three broad themes come to light. …
Archipelagic Performance: Scenes from Maritime Southeast Asia
Archipelagos are complex environments that combine land and water in dynamic ways. As geological and discursive formations, they are performatively produced, and the kinds of cultural expressions that archipelagic communities perform represent distinctive manifestations of their location and interrelations. This essay considers a recent trend in contemporary performance for exploring archipelagic conditions, and places it within the context of an…
The feeling of being watched: Lived Confucianism and theatricality in Kuo Pao Kun’s mid-1980s monodramas
The first plays Kuo Pao Kun (1939–2002) wrote after being released from detention in 1980 coincided with a concerted effort by the Singapore government to formalise the Confucian basis upon which it claimed that Singapore society and its increasing economic success were built. Kuo was no traditionalist, but The Coffin is Too Big for the Hole (1985), and No Parking on Odd Days (1986) can be interpreted as expressing — and producing – the lived exp…
The aesthetics of intercultural method: From process to procession in new Indonesian and Indo-Australian dance
This article examines how three dances featuring Indonesian artists and commissioned for Melbourne's 2020 Asia-Pacific Triennial of Performing Arts staged their method of creation in ways that make explicit core features of cultural production in inter-Asia contexts. In The Seen and Unseen, by Kamila Andini and Ida Ayu Wayan Satyani, a self-contained world is best understood as participating in a much longer process of creation. Lucy Guerin Inc a…
The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies
We often know performance when we see it – but how should we investigate it? And how should we interpret what we find out? This book demonstrates why and how mixed methods research is necessary for investigating and explaining performance and advancing new critical agendas in cultural study. The wide range of aesthetic forms, cultural meanings, and social functions found in theatre and performance globally invites a corresponding variety of resea…
Cold War Asia: A Visual History of Global Diplomacy
This innovative, interdisciplinary and international collection of essays offers fresh perspectives on the history of global diplomacy. Experts in history, international relations, art history and performance art have come together to examine a series of visual sources relating to Asia's role in global diplomacy during the Cold War. They explore how leaders, including Indonesia's Sukarno, the Philippines' Imelda Marcos and Thailand's King Bhumibo…
Art (8 works) · Aesthetics (7 works) · Political science (7 works) · History (6 works) · Law (6 works) · History (5 works) · Philosophy (5 works) · Philosophy (5 works) · Visual arts (5 works) · Computer Science (4 works)